![]() But the track’s title reveals a brutal double meaning, one aimed at the (presumably) privileged, Western listener. “Fortune 500” is the album’s darkest moment, sonically and lyrically, detailing the recruitment of a suicide bomber and his path to “success” with a haunting refrain: “I won, I won, they told me that I’ve won!” It’s one of many to come. But the album’s second half truly astounds, five perfect, consecutive tracks laying bare the humanity behind horror. The aforementioned “To The Blade” looks at the trauma caused on close friends of terrorists and the shunning they endure once perpetrators are found out “Distant Past” takes its titular, catchy hook and turns it into a scathing commentary on how history will always repeat itself because of ignorance title track “Get to Heaven” explores the intersection between mundane problems and extreme violence with the blackest of black humor “The Wheel” explores the origins of extreme conservatism the list goes on. Even just on the first half, the LP condenses novels’ worth of psychological and political explorations. Every single track fearlessly commentates a unique political stance. Pop music doesn’t seem like the place to dissect issues like the origins of violence and the endless cycles of terrorism, but Higgs’ excellently written lyrics prove doubters wrong. The sound of the album, however, stands in total contrast to the subject matter. The songs are catchy, often blissful, and have a melodic depth that makes the tracks hard to get sick of. His coos turn to howls in the space of seconds, exemplified on opener “To The Blade.” Soft falsettos yearn for some unknown tragedy, until the track absolutely explodes and Higgs starts howling fiercely. Of course, it would be remiss to not mention Jonathan Higgs’ potent and unique vocals. The result is one of the most progressive and danceable pop albums in years that never loses its sheen. The complexity of Everything Everything’s compositions is the highlight, and Spearman’s insane polyrhythms buoy the layered melodies into greatness. Bassist Jeremy Pritchard gets a little more spotlight this time around - while the bass is usually hidden behind layers of melody, closer “Warm Healer” features an extremely catchy and prominent bass line.īut it’s drummer Michael Spearman who elevates Everything Everything to their insanely sticky, memorable heights. It’s frequently difficult to discern what’s being played on the guitar or on the myriad synthesizers which Everything Everything employ. Frontman Jonathan Higgs’ and Alex Robertshaw’s guitars are warped and changed into spunky melodies or dark riffs. The album itself is colored by experimental yet accessible instrumentation. ![]() In fact, “Get to Heaven” was released in Britain in June 2015, but is only being released here in the states on Feb. This has translated to extremely delayed releases in the U.S., where their albums have been released months or even years after their release in the UK. Everything Everything’s third LP “Get to Heaven” stuns as both a progressive, catchy pop album and a powerful dissection of terrorism and war.Įverything Everything are a British pop quartet, formed in 2007, who have been consistently acclaimed but commercially unsuccessful.
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